NR | 1h 30m | Action, Adventure, Western | 1957
James Stewart rarely played the bad guy in films. However, one notable exception was “Night Passage,” which struggled to win over audiences upon its release in 1957. Despite its rocky reception and behind-the-scenes challenges, the film remains a well-produced Western, although it falls short of the high bar set by Stewart’s previous collaborations with director Anthony Mann.
However, Mann withdrew from the project in the 11th hour, reportedly due to concerns about the script’s quality. His abrupt departure not only left the film in flux, but also ended the celebrated partnership between him and Stewart. In his place, James Neilson stepped in as director. However, the change left the movie lacking the depth and grit that defined the Mann-Stewart films.
What emerges is a Western with moments of intrigue and charm, but without the thematic resonance or complexity that elevated its predecessors. While “Night Passage” entertains, it’s hard not to view it as a missed opportunity in the legacy of one of cinema’s greatest actor-director duos.
Once a Detective, Now a Drifter
In “Night Passage,” Stewart trades in his usual rifle for an accordion as Grant McLaine, a down-on-his-luck drifter scraping by on musical performances for railroad workers. Once a respected railroad detective, McLaine’s career derailed after his boss, the hard-nosed railroad tycoon Ben Kimball (Jay C. Flippen), fired him over suspicions of aiding his outlaw brother Lee McLaine, the notorious Utica Kid (Audie Murphy). Years earlier, McLaine had caught the Kid red-handed but allowed him to escape, a decision that branded him with a cloud of mistrust ever since.
A ruthless gang led by the cunning Whitey Harbin (Dan Duryea) begins targeting payroll trains. As this leaves the railroad workers unpaid and on the brink of desertion, Kimball devises a bold plan. Desperate to secure the workers’ loyalty and keep his business afloat, he turns to McLaine for help. Tasked with secretly carrying the payroll on his person to outwit the bandits, McLaine accepts the high-risk mission. His motivation isn’t just the payday. It’s also the promise of reclaiming his reputation and taking over as Kimball’s right-hand man.
The job is far from easy. Jeff Kurth (Hugh Beaumont), Kimball’s second-in-command, harbors deep doubts about McLaine’s loyalty and competence. Danger lurks at every turn and the specter of his brother looms over the operation. McLaine must navigate a treacherous path to prove his worth, safeguard the money, and confront the tangled web of family loyalty and justice.
An Ambling Western
“Night Passage” starts with engaging, colorful moments; it eventually loses much of its momentum as the narrative shifts gears into a conventional train heist and subsequent rescue plotline. McLaine’s risky job of secretly transporting a payroll, which inevitably attracts the attention of a gang of outlaws, becomes predictable. The film is bogged down by too many characters and missed chances for meaningful development.One of the film’s biggest shortcomings lies in the portrayal of the Utica Kid by Audie Murphy. As a celebrated war hero and star known for his clean-cut roles, Murphy struggles to convey the layered moral ambiguity of an outlaw. A more rugged and dynamic actor, such as Jack Palance or Lee Van Cleef, might have infused the character with the grit and deviousness it demanded. The revelation that the Utica Kid is McLaine’s brother falls rather flat. This shows in their lack of physical resemblance and emotional connection on-screen. Mann noted that as one of the reasons he didn’t stay on the project.
The supporting cast, while promising on paper, doesn’t make an impact. Brandon De Wilde’s young boy Joey Adams is earnest but lacks the necessary presence to make his role stand out; while Jack Elam, playing a grizzled outlaw, brings his usual sinister flair but is given too little to work with. Both characters ultimately feel underused.
The film also suffers from pacing issues and underwhelming plot twists, which fail to leave a lasting impact. While Borden Chase’s script flirts with the thematic gravitas and nuance seen in superior Westerns, “Night Passage” ultimately feels like a missed opportunity. Despite some fleeting moments of charm and entertainment, it struggles to rise above mediocrity.
Fans of James Stewart may still find something to enjoy, but it falls short of the brilliance seen in his earlier Westerns.
